Exhibitors Herald (Jan-Mar 1920)

64 i: \ HIBITORS HERALD March 13, 1920 A night photograph of the Olympic theatre, Pittsburgh, during the run of "Soldiers of Fortune," Realart's picturization of the Richard Harding Davis novel Sugar Shortage Is Capitalized For "Soldiers of Fortune " Run Pete Antonopolis, proprietor of the Olympic theatre, Pittsburgh, Pa., provides exhibitors with food for thought and an excellent exploitation idea for immediate use in the account of the manner in which he made use of the sugar shortage in exploiting "Soldiers of Fortune" during the recent engagement of that Realart production at his theatre. The stunt, at once novel and simple, is one that every exhibitor can use with whatever big attraction he has coming in the near future. Formerly proprietor of a candy store, and presently owning and managing similar institutions in the city in addition to his theatre, Mr. Antonopolis realized the possibility of exploitation within the public institutions where people gather. In this instance he chose the cafe, the daily stopping place of more people, perhaps, than any other institution except the theatre. In Pittsburgh, as in practically every city in the country, the cafe owners were embarrassed by the high price of sugar, and forced to resort to the measures used during the war. In some instances sugar was provided in individual envelopes. In others the sweetening was put in the coffee before it was served. The public, naturally, does not take kindly to these measures when there is not the immediate urge of a world war to explain their necessity. Yet cafe managers must retrench. Comparatively few of them saw their way clear to leaving the sugar bowls upon the table as in ordinary times. Realizing these conditions, Mr. Antonopolis had printed 15,000 envelopes large enough to contain the proper amount of sugar to sweeten one cup of coffee. These he distributed among the restaurants of the city. The inscription which they bore is shown in the reproduction of one of the envelopes reproduced herewith. The practicality of the enterprise is its outstanding aspect. Obviously the persons who used the envelopes read the message. They were already somewhat piqued because of the sugar regulations enforced. It is easy to imagine the comments that were forthcoming when they found that an outsider, a man not engaged in the restaurant business, was supplying the sugar which the cafe could not provide. The picture's engagement, therefore, was made known to all who ate in the lestaurants while the envelopes lasted. And it is certain that a great majority of these persons told friends and family of the occurrence. The result, in concrete figures, provided by the theatre management, was 1,800 admissions before five o'clock in the afternoon on the first day of the engagement. When it is considered that the house seats but 1,000 persons, and that it is located in the heart of Pittsburgh, where competition is the strong An envelope containing sugar and bearing this printed matter was used in the original exploitation of "Soldiers of Fortune" at Pittsburgh est, it is apparent that the sugar device had a very tangible result. In the other photograph reproduced herewith may be seen the lobby of the Olympic on an evening of the picture's run. Twenty-four sheets were elaborately displayed in the lobby and throughout the neighborhood. All of which had a complementary effect. But the sugar stunt is the important feature of the exploitation campaign. It is the sort of exploitation that exhibitors must develop if they are to make the pictures of the future the successes they deserve to be. With improved quality, it is but fair to grant that longer runs and more intensive exploitation should be provided big features. And the improved quality is assured. Producers have shown a .steady and rapid improvement from the infancy of the industry. There is not and never has been reason to believe that the highest quality has been attained. Theatres are being built throughout the country. All are big theatres. The s rail house is passing. The big theatre calls for a long run. It calls for pictures that everyone in the territory from which these theatres draw will want to sec. Such pictures arc being provided. It is up to the exhibitor, the man on the ground, who knows his public better than any other man can possibly know it, to devise the advertising and exploitation that will bring these people into the theatre in numbers that will support the production. Mr. Antonopolis' sugar idea can be used as well with any other big attraction. The sugar shortage is not as keen as it was a short while back, but it is still a matter of popular concern. And there are and will be other emergencies of kindred nature with which the device may be used. It should be used by at least one exhibitor, and at least once, in every city. A New Appeal An appeal that is fresh and based upon tound logic is that voiced by the New Santa Cruz theatre, Santa Cruz, Cal., in the splendid 12-page house organ published. It consists of an invitation, appearing on page 2, to all patrons interested to visit the projection room of the theatre. It follows a brief and well written description of the equipment in operation, a description that points out the excellent qualities of the theatre's projection. People are interested in this sort of thing. They have never been given an opportunity of seeing the mechanism in operation. The advisability of providing this opportunity is apparent. Ad Buttons Five hundred buttons bearing the portrait of Larry Semon, Vitagraoh comedian, were passed out by the Grace theatre, Brooklyn, N. Y., prior to the showing of the first comedy in which this star was featured. In the backs of fifteen of these complimentary admission passes were inserted. _ . The event was advertised. The box office receipts on the night the buttons were to be distributed were large. They were larger on the opening night of the comedy.